Relevant bibliographies by topics / Photography, Industrial

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Photography, Industrial'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Photography, Industrial"

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Korola, Katerina. "The Air of Objectvity." Representations 157, no. 1 (2022): 90–114. http://dx.doi.org/10.1525/rep.2022.157.5.90.

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Focusing on Albert Renger-Patzsch’s photographs of the Zollverein colliery, this essay investigates the tension between the clarity of Renger-Patzsch’s aesthetic and the physical reality of the industrial environment in which he worked. In doing so, it offers an account of New Objectivity photography that is attentive to both the environment from which it emerged and the way in which photography, in turn, acted upon this environment. Placing particular stress on the clear contours and white backgrounds of these photographs, as well as their material and technical prerequisites, it argues that the radical clarity of Renger-Patzsch’s photographs is best regarded as an active intervention into a compromised environment, in which the photographer was called upon to bring forth clarity from the dust and smoke of industrial extraction.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.

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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Snyder, Robert E. "Margaret Bourke-White and the Communist Witch Hunt." Journal of American Studies 19, no. 1 (April 1985): 5–25. http://dx.doi.org/10.1017/s0021875800020028.

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Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and terminals captured the atmosphere of the industry and the dynamics of the capitalist system. Her industrial photography was of such outstanding quality that, as one critic observed, it “transformed the American factory into a Gothic cathedral.”Henry Luce was so impressed by her early work that he hired her as the first photographer for his business magazine Fortune. Under a unique arrangement she was allowed six months out of the year to pursue her own private studio practice for advertising agencies and corporations. When Henry Luce added the pictorial magazine Life to his growing publishing empire in the 1930s, he selected Margaret Bourke-White to become one of the four original staff photographers. At Life she established the tradition of negatives printed full frame and proved by black borders, and pioneered the synchronized multiple flash picture. Bourke-White revealed the range of her photographic talents in photo essays, murals, and documentary travelogues. “As a result of her twelve- and fourteen-page essays,” Carl Mydans noted, “her monumental work became known throughout the world — beyond that of any other photographer.”
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Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (February 2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.

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For over a century, press and magazine photography has influenced how Australians have viewed society, and played a critical role in Australia's evolving national identity. Despite its importance and longevity, the historiography of Australian news photography is surprising limited. This article examines the history of press and magazine photography and considers its genesis, the transformative technological innovations, debates about images of violence, the industrial attitudes towards photographers and their treatment, the use of photographs and the seismic recent changes. The article argues that while the United States and United Kingdom influenced the trajectory of press and news photography in Australia, there are significant and illuminating differences.
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Guerin, Frances. "Introduction: European photography today." Journal of European Studies 47, no. 4 (October 24, 2017): 331–41. http://dx.doi.org/10.1177/0047244117733893.

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This introduction briefly sketches the relationship between Europe and photography from its earliest days, through the experiments of the 1920s, and into the post-war years. This history is the background for approaching the contemporary concerns of European photography today. Concerns discussed include: the fluidity of Europe’s borders, the commemoration and integration of mass violence, the marginalization of non-citizens, the fallout of the end of industrial capitalism, and the responsibility of the viewers of the photographs in which these issues are envisioned. In addition, the appropriateness of photography, as well as its inadequacy to the task of documenting and imagining the current challenges to Europe, is discussed.
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Roychoudhuri, Ranu. "Documentary Photography, Decolonization, and the Making of “Secular Icons”: Reading Sunil Janah’s Photographs from the 1940s through the 1950s." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 46–80. http://dx.doi.org/10.1177/0974927617717898.

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Through historicizing photographs made by celebrated Indian photographer Sunil Janah (1918–2012), this paper will elucidate the ways in which Janah created “secular icons” of historical moments during India’s passage from the colonial to the postcolonial. I will primarily focus on two sets of Janah’s photographs: the first set is from the 1940s, and centers on the Bengal Famine of 1943, communal violence, and the displacement of population before and after the partition of 1947, while the second set is from the 1950s, and emphasizes in particular photo-documentations of independent India’s industrial growth during the first two five-year plans. Contrast between these two sets will focus on two distinct ways of becoming iconic, while also highlighting the politics of revival/retrospection and the ways in which particular genres of photographs are memorialized, while others remain relatively unknown. Later day viewers of Janah’s photographs have seen only the political import of his pre-independence photographs of the Bengal Famine (1943) and the post-Partition mass exodus, while I argue for a seamless continuity between Janah’s pre-Independence social-documentation and post-independence industrial photography. I further contend that Janah’s photographs were material traces of an indubitable reality that embodied and at the same time exceeded their ideological message.
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Prehn, Ulrich. "Working Photos: Propaganda, Participation, and the Visual Production of Memory in Nazi Germany." Central European History 48, no. 3 (September 2015): 366–86. http://dx.doi.org/10.1017/s0008938915000795.

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AbstractThis article examines images of Germany's “working world” in the 1930s and 1940s. Analyzing photos from three different genres—factory photography, special-occasion industrial photography, and the work of nonprofessional photographers—it addresses a series of questions: How was the “working world” depicted in photographs from this period? What were the different modes, functions, and effects of visual representations of work and workers in these three genres? In what ways did these photographs contribute to the (visual) production and “shaping” of memory—in terms of worker experiences, as well as with respect to attempts by the National Socialists to promote ideological notions of community-building (Vergemeinschaftung)? The main argument is that photography served as an important tool for the mobilization and self-mobilization of German workers under the Nazi regime.
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Pfingsten, Claus. "Albert Renger-Patzsch: Early industrial photography." History of Photography 21, no. 3 (September 1997): 187–91. http://dx.doi.org/10.1080/03087298.1997.10443827.

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Buchloh, Benjamin H. D. "Ilse Bing: A Frankfurt School Photographer in Paris and New York." October 173 (September 2020): 176–206. http://dx.doi.org/10.1162/octo_a_00407.

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Ilse Bing was one of those Weimar photographers whose work was recognized or rediscovered later than that of many of her more famous female peers. Her photographic project sprang largely from her persistent subversion of the stylistic oppositions of New Vision photography and New Objectivity. Just as complex was the work she produced after moving to Paris, defined as it was by her cross-cutting of Weimar socialist and French Surrealist photographic mentalities. Comparable in her precise socio-political analysis to the Frankfurt School's critiques of emerging mass-cultural and political formations, Bing's work in the United States, where, barred from publishing in magazines, she was able to pay witness to photography's functioning as a new ideological- and cultural-industrial medium—acquired the melancholic features of a mordant critique of traditional photographic genres such as the portrait.
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Zachariášová, Blanka, Katarína Haberová, Michal Oravec, and Viera Jančovičová. "Plasma treatment of gelatin photography." Acta Chimica Slovaca 12, no. 1 (April 1, 2019): 27–33. http://dx.doi.org/10.2478/acs-2019-0005.

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Abstract Plasma pre-treatment represents the key enabler technology for microfine cleaning, surface activation and plasma coating of almost all types of materials — from plastics, metals and glasses to textiles, composites and photographs. More and more conventional industrial treatment methods are being replaced by plasma technology in order to make processes more effective and environmentally friendly. This study is oriented on the characterization of a photographic image on two types of photographic paper (glossy and matt photographic paper with a barite layer), and monitoring the effects induced by the Atmospheric Discharge with Runaway Electrons (ADRE) plasma in air atmosphere on the photographic image layers. To evaluate their long-term stability before/after plasma treatment, degradation of black and white gelatin photographic components upon accelerated light aging using Q-SUN was investigated and the photoinduced changes were recorded by FTIR spectroscopy, densitometry and colorimetry. The results obtained demonstrated that the plasma discharge had no significant destructive effect on the photographic image as only negligible changes in the structure of the gelatin were detected due to plasma processing. Consequently, it can be concluded that low-temperature ADRE plasma in air atmosphere has the potential for successful applications in microbial decontamination and purification of damaged gelatin photographs.
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Dissertations / Theses on the topic "Photography, Industrial"

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Weber, Matthew John. "Industrial monuments." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4790.

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While traveling home from work we may glance out our windows at these industrial structures whose fluorescent lights glow throughout the night. These places, often located on the outskirts of the cityscape, leave the viewer with a mix set of emotions. First, our reactions to the height, shape and form, whose towers and beams stretch high into the sky, loom over our tiny human frames. Regardless of the beauty that may be offered to the viewer at first glance, there is an underlying feeling of disgust and disregard, as these manufacturing plants stand as the agents of our environment issues in this era. This initial, fleeting, sense of wonder is what draws me to these locations as a photographer. There is a type of ordered rhythm that these locations embody, a type of ceaseless production whose beauty is within the confines of its method of production. Every pipe and tube has a specific purpose, which leads to uniformity in shape and positioning. Every light is set to illuminate the space, not only for functionality, but also for security. Every road, wall and doorway is placed just so in order to maximize efficiency. These places manufacture, process, and ship raw materials in vast sums every single day all across the globe. They provide us with all the tools and materials we need to make our society function, but more importantly, they allow us to transform our surroundings into whatever we may choose. Inside, engines thump and grind at a steady pace. Conveyor belts hum as they slide down their tracks. Outside, a truck comes in through the entrance to pick up its order, followed by another, and still another after that. In following some of the same techniques laid out by photographers before me, my hope is to capture the massive amount of details and nuisances of these locations. The night skies serve as the constant throughout these images, grounding these locations in the same timeframe; at once connecting them in this fashion, but also allowing each of them to be it's own unique structure as they reach up into the black sky in varying fashions. My hope for the viewer lies in a reassessment of these locations. While they do presume, as any images of industrial locations do of this era, to speak about the connection between manufacturing and environmental issues, my hope is that they are able to offer much more. While they are connected with these problems, they are also connected with the solutions to these problems, and in this regard, deserve a second glance, and hopefully, a second evaluation of their aesthetic qualities.
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Ilic, Nevena. "Former factory fotokemika as a museum of photography." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/21121.

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Au cours du procédé de transmission du médium photographique, du support argentique au support numérique, un phénomène voit le jour à la fin du 20ème siècle: la plupart des fabricants de supports argentiques au fur et à mesure ferment leurs portes. En conséquence, la production de matériel photographique s‘arrête et cette tradition séculaire de la photographie argentique doit faire face à l‘abandon et à la disparition progressive. Dans l'étude de cas du fabricant Fotokemika (1947-2012), une ancienne fabrique de matériel photographique en Yougoslavie et plus tard de la République croate, mon objectif est de démontrer ce que ce processus de transmission signifie au niveau local ainsi qu‘à l‘échelle mondiale. Ce document, à travers l'étude du cas de Fotokemika, en tant qu‘exemple d'unité industrielle fermée qui fabrique du matériel pour la photographie argentique, tente de contribuer à une meilleure compréhension de la situation du processus et de la technique de la photographie argentique au 21ème siècle. L‘étude explore l'histoire de la fabrique, ses réalisations dans les domaines de la science, de la technologie, la technique, la publicité, le design et son influence sur le développement de la photographie argentique sur le territoire de la Croatie en créant des critères pour la valorisation du patrimoine de la photographie argentique. L'objectif de la recherche est d'examiner comment les musées, en tant qu‘institutions responsables pour la protection et la sauvegarde du patrimoine, surtout après leur nouvelle définition, pourraient encourager la conservation du patrimoine industriel dans un processus de réaménagement d‘un ancien bâtiment industriel en musée; ABSTRACT: In the transmission process of a photography medium, from analog to digital, a phenomenon that occurs at the end of the 20th century, most of the analog photo factories are being shut down. As a result, production of photo equipment dies and centuries-old tradition of analogue photography is disappearing into history. In the case study of Fotokemika factory (1947-2012), once a famous and respectable photo equipment factory during Yugoslavia, later the Croatian Republic, I am showing what this transmission process means on a local and global level. This paper, trough case study of Fotokemika factory, as an example of shut down industrial unite that produced equipment for processing analog photography, is trying to contribute to a better understanding of position of analog photography process and technique in 21st century. The study examines the history of the factory, the achievements in the fields of science, technology, technique, advertisement, design and its influence on developing of analog photography in the territory of Croatia creating criteria for valorization of analog photography heritage. The research aim is to examine how museums like an institution for protection and safeguarding of heritage, especially after the new definition, can give a solution in maintaining industrial heritage in a process of reusing former industrial buildings into museum; RESUMO: Ao longo do processo de transmissão do suporte fotográfico, do suporte analógico ao suporte digital, fenómeno esse que vê a luz no fim do século XX, a maior parte das fábricas de suportes analógicos vêm os seus dias contados. Como consequência disso, a produção de equipamento fotográfico analógico desaparece e a tradição secular de fotografia analógica está a acabar. No caso de estudo da fábrica Fotokemika (1947-2012), já famosa e reputada fábrica de produtos fotográficos durante a Yugoslávia, e depois durante a República Croata, o meu objetivo é o de demostrar o que esse processo de transmissão significa ao nível local e global. Este documento, pelo estudo da fábrica de Fotokemika, como exemplo de unidade industrial fechada que produzia equipamento para processar fotografia analógica, tenta contribuir para um melhor entendimento da posição do processo e da técnica de fotografia analógica no século 21. Este trabalho examina a história da fábrica, os seus resultados nos campos da ciência, tecnologia, técnica, publicidade, design e suas influências ao desenvolver fotografia analógica no território da Croácia criando critérios para a valorização da herança da fotografia analógica. O objetivo desta pesquiza é o de examinar como é que museus, sendo instituições para a proteção e salvaguarda da herança, sobretudo com a nova definição de museu, podem dar soluções para manter a herança do património industrial num processo de reutilização do edifício antigo num museu.
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Bertolini, Florencia Fernández. "Portraits, biographies et fours à chaux : images, mémoire et construction patrimoniale de l'exploitation minière dans une ville d'Argentine à la fin du XXe siècle." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/31697.

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Cette recherche est basée sur la photographie d'un anthropologue et le travail d'un groupe interdisciplinaire créé en 1999 dans la ville d'Olavarría, province de Buenos Aires, Argentina. L'étude explore le rôle, l'incidence et l'utilisation de l’image photographique dans les processus d'activation, de resignification et de construction du patrimoine. On verra que la photographie est utilisée dans la recherche anthropologique et la documentation des fours à chaux, des techniques et des savoir-faire des travailleurs. L’image est également un élément central des actions et des activités d'intervention communautaire développées par le groupe. Dans ce sens, les photographies deviennent un objet nécessaire et important dans un contexte de conflits territoriaux et de perte des références associés à l'exploitation minière artisanale locale; Portraits, biographies, and lime kilns: Images, memory, and heritage construction of mining in a town in Argentina at the end of the 20th century - Abstract: This research is based on the photography of an anthropologist and the work of an interdisciplinary group created in 1999 in the city of Olavarría, Province of Buenos Aires. The study explores the role, incidence and use of photography in the field of heritage. It will be seen that photography is used in anthropological research and in the documentation of the lime kilns, the techniques, and the workers’ know-how. The image is also a central element in the interventions and community activities developed by the group. In this sense, photographs become a necessary and important object in a context of territorial conflicts and loss of references associated with local artisanal mining.
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Fein, Zachery E. "The Aesthetic of Decay: Space, Time, and Perception." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305892741.

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Anthony, Robert D. "Lenses of industry| The rise of industrial photography in the United States and the Lake Superior mining district, 1880-1933." Thesis, Michigan Technological University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10004767.

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This thesis, Lenses of Industry, examines how industrial companies and engineers adapted photography to their needs in the late nineteenth and early twentieth centuries. Innovations in camera and plate technologies marketed to a broad range of people contributed to a steep rise in the number of photographers in the United States. Recognizing the potential that photography held for industrial companies and engineers, a handful of experts advocated the idea that photography had the potential to make many aspects of business faster, and easier, as well as to make visual records more truthful and accurate. Likewise, innovations in halftone printing technology allowed trade journals like Engineering and Mining Journal to print photographic illustrations, which engineers perceived as being more objective representations of machines and heavy equipment than handmade engravings. The photo collections of three Lake Superior mining companies show that approaches to industrial photography varied according to company and industry. Lake Superior mines did not use photography as regularly or as systematically as large national corporations because mines did not have large public interfaces that sold consumer goods to the public.

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Meloni, Giaime. "La construction d’une vision paysagère : études des usages de l’action photographique comme outil de projet du paysage." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100094/document.

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La thèse poursuit comme objectif d’explorer la liaison entre le projet de paysage, conçu comme une intention de transformation soit matérielle soit immatérielle du territoire, en relation à la pratique photographique. Il s’agit d’une enquête interdisciplinaire qui essaie de comprendre les interactions possibles entre les deux matières, évitant une soumission de l’une à l’autre. Se matérialise un champ de recherche sur la culture du projet, orienté à déterminer les possibilités d’utilisation de la photographie comme contribution aux pratiques de conception de l’espace. L’étude problématique pose les questions suivantes: La photographie en tant que représentation et interprétation critique, joue-t-elle un rôle dans le processus matériel et immatériel de transformation du territoire? Quel est l’impact/l’influence sur la pensée projective d’une pratique de fragmentation sélective du paysage? Un mécanisme de re-production du réel, tel que la photographie, peut-il proposer une manière tangible de concevoir l’espace?Pour répondre à cette problématique la recherche développe une démarche méthodologique qui souhaite combiner un double niveau d’étude. D’un côté le parcours de connaissance générale, interrogeant le statut de la photographie en relation au paysage, au-delà d’une simple catégorisation d’un genre photographique. De l’autre côté une pratique expérimentale de l’action photographique dans le cadre d’une transformation de la côte du Sulcis Iglesiente, en Sardaigne: une tentative de représentation critique du territoire. La reconstruction d’une image du territoire passe par une prise de conscience et une mise en perspective de son évolution. L'intérêt général est de pouvoir construire la notion de « vision paysagère » comme action de voir spécifique, évitant la formation des stéréotypes ; une pratique capable de proposer un regard interprétative sur le paysage à travers le filtre de l’appareil photographique
The thesis aims at exploring the relationship between the landscape project, conceived as a discipline able to transform the material and immaterial territory, and the photographic practice . It is an interdisciplinary research that attempts to understand the possible interactions between the two branches of knowledge, avoiding the submission of one over the other. It is so conceived a field of research on the design culture oriented to determine the potential use of photography as a contribution to the conception of space. The study highlights some key issues: Can the photography, as representation and critical interpretation, perform a role in the process of transformation of the material and immaterial territory? What is the influence of a practice of selective fragmentation of the landscape on the design thinking? May a mechanism of reproduction of the reality propose a concrete way of conceiving the space?In order to answer these questions the research developed a methodology oriented to the combination of two levels of study. On the one hand the creation of a broad knowledge which examines the status of the photography in relation to the landscape, going beyond the simple categorization of a photographic genre. On the other hand an experimental practice of photographic action in the context of the coastal landscape of the Sulcis-Iglesias, in Sardinia. It is an effort aimed at a critical representation of the territory. The aim is to build a concept of vision paysagère, as a specific visual action, which avoids the formation of stereotypes. A practice able to offer an interpretative view on the landscape
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Desole, Angelo Pietro. "La fotografia industriale in Italia. 1933-1965." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423801.

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The theme of the research the industrial photography in Italy frome 1933 to 1965. A period of Italian history marked by really significant changes, especially from issues related to the economy. About the methodology, the research considers the photograph not as an aesthetic object , but as part of a broader cultural path followed by the company in those years. In particular, the industrial photography has considered as a whole ideological product of large companies, made for propaganda purposes and to create an identity. The work is divided mainly into four historical chapters that identify as many temporal segments, which is accompanied by an introduction and a brief conclusion. The first chapter, from 1933 to 1939, shows how since the birth of IRI the industrial photograph knows a booming, thanks also to the great cultural ferment in all the arts and to the influence of German avant-garde. The second chapter, from 1940 to 1947, deal with the industrial photography during the second world war, analyzing the problems that led to a considerable loss of linguistic values built in the previous decade. The third chapter studies the period from 1948 to 1958, showing as the industrial photography, following the economic boom after the Reconstruction, has known her most interesting years. Chapter 1959-1965 focuses on the concerns that led to the season of the dispute, thus closing, even for the industrial photography, the historic years of its maximum expression.
La ricerca ha come tema la fotografia industriale in Italia dal 1933 al 1965. Un periodo della storia italiana segnato da importanti cambiamenti, soprattutto per gli aspetti legati all’economia. Dal punto di vista della metodologia il lavoro considera la fotografia non come oggetto estetico, ma come parte di un più ampio percorso culturale seguito dalla società in quegli anni. In particolare si pensa alla fotografia industriale come a un complesso prodotto ideologico delle grandi aziende, realizzato con scopi di propaganda e creazione d’identità. Il lavoro è suddiviso principalmente in quattro capitoli storici che identificano altrettanti segmenti temporali, ai quali si accompagna un’introduzione e una brevissima conclusione. Il primo capitolo, dal 1933 al 1939, mostra come dalla nascita dell’IRI in poi la fotografia conosca una forte espansione, merito anche del grande fermento culturale in tutte le arti e dell’influenza delle avanguardie tedesche. Il secondo capitolo, dal 1940 al 1947, si occupa della fotografia industriale durante la guerra, analizzando i problemi che portarono a una notevole perdita dei valori linguistici costruiti nel decennio precedente. Il terzo capitolo, dal 1948 al 1958 studia come la fotografia industriale, seguendo il boom economico del periodo seguente alla ricostruzione, abbia conosciuto i suoi anni più ricchi. Il capitolo dal 1959 al 1965 si concentra sulle inquietudini che portarono alla stagione della contestazione, chiudendo così, anche per la fotografia industriale, gli anni storici della sua massima espressività.
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Wallenbäck, Karin. "Att Gestalta Gestalt : An approach to product photography as an integrated part of the design process, as opposed to a form of documentation detached from the design process." Thesis, Konstfack, Industridesign, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2998.

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Digital technology and the Internet has fundamentally reshaped the way photographs are viewed and shared. Today designers can reach out and publish their work via web sites and blogs without having to rely on editorial features or even the objects being in production. Most people will only see the finished products on blogs or in magazines, and it is almost as though the image is more important than the real object. How does this change the role of the image in the field of product design and what new demands does it put on product photography? Through theoretical and applied research, the aim is to identify knowledge, relevant in order to approach the creation of images as an integrated part of the design process, rather then a form of documentation done after a project is completed.
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Scott, Conohar. "The photographer as environmental activist : politics, ethics and beauty in the struggle for environmental remediation." Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/19640.

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This practice-based research study examines two questions in an effort to determine how the photographer can play a role in the promulgation of environmental activism. Firstly, I ask if certain aesthetic approaches to the documentation of industrial pollution can be regarded as antithetical to the values of environmentalism; in particular, I examine the use of the sublime and the role that beauty plays in documenting scenes of environmental despoliation. In response to this question, I describe the problems associated with establishing a counter-aesthetic position in my artistic practice, which is commensurate with environmental ethics. Secondly, I ask how photography can be used as a means of conducting environmental protest by working in solidarity with environmental scientists and activists, in the struggle for environmental remediation. In a bid to answer this question, I argue that the production and dissemination of the photobook is one method of realising the dissensual capacity of art to bring about the conditions necessary for remediation to occur. Importantly, my practice proceeds through an understanding of debates ongoing in contemporary theory. In particular, I argue that Jacques Rancière s conceptions of dissensus (Rancière, 2010: 173) and the politics of aesthetics (Rancière, 2004: 25) can be interpreted as a means of understanding how aesthetics can be used to enact a form of political praxis. Using Rancière and Murray Bookchin s concept of social ecology as a basis for my artistic practice, I claim that photography can not only make the existent reality of pollution visible, it can also initiate a form of participatory democratic subjectivity, allowing the demands of the artist to become visible too. Moreover, in the design and dissemination of the three photobooks I have created, I make a case for a collaborative model of artistic practice, which extends beyond the medium specificity of photograph, and embraces multimodality and trans-disciplinarity, as a means of situating the photograph into a broader discursive field.
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Funkhouser, Todd. "Sentinels of The Anthropocene: Investigating an Architecture of The Contemporary Sublime." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623242131059292.

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Books on the topic "Photography, Industrial"

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Tucker, Charles Lee. Industrial and technical photography. Englewood Cliffs, N.J: Prentice Hall, 1989.

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Gallery, Photographers', ed. Industrial image: British industrial photography 1843 to 1986. London: Photographers' Gallery, 1986.

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editor, Xiao Jiewen, ed. Industrial sanctuaries. Firenze: Maschietto editore, 2018.

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Bernd, Becher. Industrial facades. Cambridge, Mass: MIT Press, 1995.

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Crespi, Giovanna. Masterworks of industrial photography: Exhibitions 2016, Mast Foundation = Capolavori della fotografia industriale : mostre 2016, Fondazione MAST. Edited by Fondazione MAST. Milan: Electa, 2017.

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Crespi, Giovanna, and Marina Rotondo. Masterworks of industrial photography: Exhibitions 2019, Mast Foundation : Capolavori della fotografia industriale : mostre 2019, Fondazione Mast. Edited by Fondazione MAST. Milano: Electa, 2021.

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Crespi, Giovanna, and Marina Rotondo. Masterworks of industrial photography: Exhibitions 2017, Mast Foundation = Capolavori della fotografia industriale : mostre 2017, Fondazione Mast. Edited by Fondazione MAST. Bologna: MAST, 2018.

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Sumiński, Tadeusz. Tadeusz Sumiński: Industrial. Warszawa: Fundacja Archeologia Fotografii, 2014.

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Robert, Enright, and Jane Corkin Gallery, eds. Robert Bourdeau: Industrial sites. Toronto: Jane Corkin Gallery, 1998.

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Crespi, Giovanna, and Marina Rotondo. Masterworks of industrial photography: Exhibitions 2018, Mast Foundation = Capolavori della fotografia industriale : mostre 2018, Fondazione MAST. Edited by Fondazione MAST. Milano: Electa, 2020.

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Book chapters on the topic "Photography, Industrial"

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Scott, Conohar. "The Ugly Subject of Industrial Pollution." In Photography and Environmental Activism, 58–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003086314-5.

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Proverbio, Paola. "The Value System of Objects Through the Interpretation of Photographic Language." In Springer Series in Design and Innovation, 156–64. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_15.

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AbstractThe design object finds in photographic representation a way - parallel to that of graphics - to the indispensable process of design reading. Photographic research has long been intertwined with the process of cultural qualification of the design object. The project that photography brings to bear on design is a visual narrative which, through an immediately comprehensible language, stands as a true parallel narrative, interrelated, yet not necessarily coinciding altogether with that of the written word. The object begins to circulate through the different channels of communication - from corporate catalogs to advertising pages and magazines - reaching distant people and places, sometimes even before the physical object enters the channels of distribution. This symbiotic relationship means that the object is very often accompanied by a valuable wealth of images, documenting and communicating its value system and its design, production and commercial processes, enriched over time by the shots taken by several ‘hands’, that is, by different authors who offer the opportunity for a multifaceted reading of the product. This text intends to give an example of the added value that photography represents for design through a series of paradigmatic cases (such as Gio Ponti’s Superleggera or Ettore Sottsass’s Valentine), which traverse the history of Italian industrial design from its early stage.
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Atcheson, Hana. "Ustálená slovní spojení v odborných článcích výtvarných disciplín fotografie a produktového/průmyslového designu." In Výzkum v didaktice cizích jazyků V, 165–78. Brno: Masaryk University Press, 2022. http://dx.doi.org/10.5817/cz.muni.p280-0310-2022-7.

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This article presents results from partial research which in its broader scope focuses on objective language needs analysis of students in Ph.D. study programmes of photography and product/industrial design. It is the problematics of formulaic language use in vocational published articles which usually serve in classes of English for Academic Purposes as referential models for the students in the target group and form a referential corpus in the objective needs analysis in the field of academic writing in English. This comparative corpus study pointed to the use of formal and functional types of 4-gram lexical bundles in published articles of expert authors in the two visual art disciplines of photography and product/industrial design. The analysis of lexical bundles has been done with the use of Biber’s (Biber et al., 1999) formal taxonomy, the functional taxonomy was adapted from Hyland (2008a, 2008b). The findings obtained will be used to identify the objective needs in communicative competence in academic writing for Ph.D. students of the target group.
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Diprose, Graham, Christina Hemsley, and James Hemsley. "Canals, Cities, Museums, Libraries & Photography: a Reconnaissance Study of Regent’s Canal, London." In Proceedings e report, 173–80. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.41.

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City waterways are a valuable part of our cultural heritage. Over the years the usage has changed from business to pleasure. Regent’s Canal, cutting across north central London since 1820, has a rich social and industrial history. Much of this history has been and is being captured via photographs. Many of these are being lost due to limited museum resources and disparate collections. This paper reports on phase one of a fifteen-month exploratory research project. The research aims to explore ways of aiding image capture, selection, storage and retrieval. We hope to link with researchers elsewhere, especially in Italy.
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Friedman, Avner. "Formation of photographic images." In Mathematics in Industrial Problems, 84–90. New York, NY: Springer New York, 1997. http://dx.doi.org/10.1007/978-1-4757-4129-2_8.

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Khare, Sarth. "Gurgaon: Unfinished City, a photographic essay." In Embodying Peripheries, 258–73. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-661-2.12.

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As Gurgaon expands horizontally and vertically, it continues to transition from farms to urban villages to a concrete maze. This photographic project documents the growth of Gurgaon a city recently developed near India's capital, Delhi. It is a booming financial and industrial center, home to most Multinational Corporations (MNCs) and has third highest per-capita income in India. As its advocates often like to point out, Delhi’s booming neighbor has 1,100 high-rises, at least 30 malls and thousands of small and big industries. On the other hand, as its detractors unfailingly like to note, the dust bowl’s population has grown two and a half fold, it has 12-hour power blackouts, and its groundwater would probably not last beyond this decade. Gurgaon's transformation began sometime around 1996, with the advent of Genpact, then a business unit of General Electric. Other multinational companies followed it slowly thereafter. It helped that the city was a few kilometers away from Delhi. Two decades on, Gurgaon is already "on its deathbed." From 0.8 million in 2001, the city is expected to reach a population of 6.9 million in 2031. It is speckled with glass buildings with curtain walls, and swish apartment blocks with Greco-Roman influences, but there is little water or power for them. These numbers alone don’t capture the lived reality of Gurgaon, though. The skyline that its older residents were accustomed to has completely disappeared. And yet on the periphery, one sees the "Unfinished City" growing. The landscapes and flora shouting; their sentiments brutalized by evictions and concrete. Slaughtered farms now seem witness to monstrosity with desolate faces and fading memories. Set in 2014 the project explores the ephemerality of Gurgaon’s glamor and defective town planning. Families had been displaced, laborers’ children were growing up on heaps of cement, and farmlands had turned into things of memories.
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Zen, A. P., C. R. Yuningsih, and I. M. Miraj. "Computer generated photography: Still image to moving image." In Sustainable Development in Creative Industries: Embracing Digital Culture for Humanities, 123–28. London: Routledge, 2023. http://dx.doi.org/10.1201/9781003372486-23.

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Rattalino, Elisabetta. "Working in Regress and Beyond, with Rural Material Culture [1]." In Springer Series in Design and Innovation, 304–12. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_29.

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AbstractThis contribution brings together and compares selected works by artist Claudio Costa, architects collective Superstudio, and photographer and designer Mario Cresci. It discussed the way in which they engaged with rural material culture in 1970s, a time when Italy was rehabilitating its pre-industrial heritage. Despite their respective differences, these works adopted multiple media to make rural artefacts talk and provide existential, educational, socio-political, and cultural models.
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Deng, Huishu. "Discovering Perceived Images of Reused Industrial Heritage from User-Generated Photographs: Three Mega-Event-Reinforced Industrial Heritage Transformation Cases." In Urban Narratives: Exploring Identity, Heritage, and Sustainable Development in Cities, 59–72. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-48517-6_6.

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Burtynsky, Edward. "Landscapes of Extraction." In Heavy Metal, 67–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0373.08.

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For more than two decades, Edward Burtynksy has captured images of the indelible marks left by human activity on landscapes, from the uranium mines of Elliot Lake, Ontario to the salt ponds of Senegal. Through a series of photographic journeys across diverse landscapes, from mining sites to recycling facilities, Burtynsky captures the transformative impact of human industry on the Earth’s surface. The essay traces the photographer’s evolving fascination with minerals, salt and water extracted at industrial scales, revealing the intricate interplay between human ingenuity and environmental disruption, and urging readers to reflect on humanity’s relationship with the natural world.
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Conference papers on the topic "Photography, Industrial"

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Gudilin, V. N., G. I. Brykhnevich, Vladimir S. Ivanov, V. L. Kuznetsov, Alexander V. Ovchinnikov, and D. V. Yakovlev. "Industrial chronography camera Vzgliad-2." In Twenty-Third International Congress on High-Speed Photography and Photonics, edited by Valentina P. Degtyareva, Mikhail A. Monastyrski, Mikhail Y. Schelev, and Alexander V. Smirnov. SPIE, 1999. http://dx.doi.org/10.1117/12.350534.

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Holstein, Daniel, Carmen Theiler, Hans-Juergen Hartmann, and Werner P. O. Jueptner. "Application of digital speckle photography for local strain analysis." In Industrial Lasers and Inspection (EUROPTO Series), edited by Malgorzata Kujawinska and Wolfgang Osten. SPIE, 1999. http://dx.doi.org/10.1117/12.364262.

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Ginzburg, Vera M. "Industrial and scientific applications of holographic measurements." In 22nd Int'l Congress on High-Speed Photography and Photonics, edited by Dennis L. Paisley and ALan M. Frank. SPIE, 1997. http://dx.doi.org/10.1117/12.273376.

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Wang, Lei, Zining Zhen, Xiaolin Zhang, and Makoto Sato. "Adaptive camera control method for efficient stereoscopic photography." In 2016 IEEE International Conference on Industrial Technology (ICIT). IEEE, 2016. http://dx.doi.org/10.1109/icit.2016.7474840.

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Bahuguna, R. D., S. C. Lee, and N. H. Abramson. "Holographic Interferometry Versus Lensless Speckle Photography." In SPIE International Symposium on Optical Engineering and Industrial Sensing for Advance Manufacturing Technologies, edited by Chander P. Grover. SPIE, 1989. http://dx.doi.org/10.1117/12.947571.

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Falgayrettes, M. F., P. Hamon, and C. Fiche. "Validation Of Industrial Safety Calculation Programs Using High Speed Cinematography." In 16th International Congress on High Speed Photography and Photonics, edited by Michel L. Andre and Manfred Hugenschmidt. SPIE, 1985. http://dx.doi.org/10.1117/12.968057.

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Chen, D. J., and F. P. Chiang. "Digital Processing Of Young's Fringes In Speckle Photography." In SPIE International Symposium on Optical Engineering and Industrial Sensing for Advance Manufacturing Technologies, edited by Chander P. Grover. SPIE, 1989. http://dx.doi.org/10.1117/12.947604.

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Hao, Hao, Dinesh K. Kumar, Behzad Aliahmad, and Mohd Zulfaezal Che Azemin. "Improved retinal photography method and visualization of multiple retinal images." In 2011 IEEE International Conference on Computer Applications and Industrial Electronics (ICCAIE). IEEE, 2011. http://dx.doi.org/10.1109/iccaie.2011.6162144.

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Vavilov, V. P., V. V. Shiryaev, and S. V. Kiselev. "Digital Devices For Industrial Opto-Mechanical High Speed Thermoviser And Its Applications In Industry And Medicine." In 18th Intl Congress on High Speed Photography and Photonics, edited by DaHeng Wang. SPIE, 1989. http://dx.doi.org/10.1117/12.969178.

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Jordaan, Gerrit, and Karel van der Walt. "Three-Dimensional Photography Using a Single Digital Camera in an Automated Material-Handling Facility." In 2007 IEEE International Symposium on Industrial Electronics. IEEE, 2007. http://dx.doi.org/10.1109/isie.2007.4374842.

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Reports on the topic "Photography, Industrial"

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Kleber, Emily J., Greg M. McDonald, W. Adolph Yonkee, and Elizabegth Balgord Balgord. Interim Geologic Map of the Plain City Southwest 7.5' Quadrangle, Weber and Box Elder Counties, Utah. Utah Geological Survey, July 2024. http://dx.doi.org/10.34191/ofr-765.

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The Plain City Southwest (SW) and Ogden Bay 7.5′ quadrangles are in Weber, Box Elder, and Davis Counties. The quadrangles include parts of the communities of Hooper, Warren, and Reese, the Harold Crane Waterfowl Management Area, several waterfowl wetlands, as well as the southwestern corner of Willard Bay Reservoir. The North Fork and South Fork of the Weber River f low south into the Ogden Bay Wildlife Management Area at the edge of Great Salt Lake. The northwestern part of the Ogden Bay quadrangle and the southwestern part of the Plain City SW quadrangle contain most of Little Mountain, a small bedrock mountain with about 500 feet of relief. The western side of Little Mountain as well as the northern part of the Plain City SW quadrangle are part of Willard Bay of Great Salt Lake. Small meandering channels flow into the bays from local drainages. Numerous evaporation ponds related to industrial minerals production cover the central western and northwestern part of the Plain City SW quadrangle, obscuring geologic deposits. This mapping project will provide the basis for identifying and delimiting potential geologic hazards in future Utah Geological Survey (UGS) geologic hazard maps, part of the UGS Geologic Hazards Mapping Initiative (Castleton and McKean, 2012). Mapping for the project was done on stereographic pairs of aerial photographs from the following sources: black-and-white aerial photographs from the U.S. Department of Agriculture (USDA) Agricultural Stabilization and Conservation Service (1958, 1965, 1971a, 1971b). Mosaics of some USDA photographs were accessed using the Weber County web services (USDA Agricultural Stabilization and Conservation Service, 1937, 1962, 1980, 1985). Additional aerial photography sets from the National Agricultural Imaging Program (NAIP) were used (Utah Geospatial Resource Center [UGRC], mid-1990s, 2006, 2009, 2011, 2016a, 2018a, 2021a) as well as high-resolution (15cm) Hexagon imagery (Utah Geospatial Resource Center, 2021b). Most Quaternary unit contacts, including human disturbed areas, were mapped using two lidar elevation datasets (Utah Geospatial Resource Center [UGRC], 2016b, 2018b). The geologic map was made by transferring the geology from the aerial photographs to a geographic information system (GIS) database using the programs ESRI ArcPro and Global Mapper v. 18 for a target scale of 1:24,000. Cross section A-A′ was created in Adobe Illustrator. Field-based investigations included shallow subsurface investigations in targeted areas with a soil auger. Materials from 1 to 3 meters were observed, documented, and sampled, which aided in preparing descriptions of most Quaternary units.
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Kleber, Emily J., Greg M. McDonald, W. Adolph Yonkee, and Elizabegth Balgord. Interim Geologic Map of the Ogden Bay 7.5' Quadrangle, Weber and Davis Counties, Utah. Utah Geological Survey, July 2024. http://dx.doi.org/10.34191/ofr-766.

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The Plain City Southwest (SW) and Ogden Bay 7.5′ quadrangles are in Weber, Box Elder, and Davis Counties. The quadrangles include parts of the communities of Hooper, Warren, and Reese, the Harold Crane Waterfowl Management Area, several waterfowl wetlands, as well as the southwestern corner of Willard Bay Reservoir. The North Fork and South Fork of the Weber River f low south into the Ogden Bay Wildlife Management Area at the edge of Great Salt Lake. The northwestern part of the Ogden Bay quadrangle and the southwestern part of the Plain City SW quadrangle contain most of Little Mountain, a small bedrock mountain with about 500 feet of relief. The western side of Little Mountain as well as the northern part of the Plain City SW quadrangle are part of Willard Bay of Great Salt Lake. Small meandering channels flow into the bays from local drainages. Numerous evaporation ponds related to industrial minerals production cover the central western and northwestern part of the Plain City SW quadrangle, obscuring geologic deposits. This mapping project will provide the basis for identifying and delimiting potential geologic hazards in future Utah Geological Survey (UGS) geologic hazard maps, part of the UGS Geologic Hazards Mapping Initiative (Castleton and McKean, 2012). Mapping for the project was done on stereographic pairs of aerial photographs from the following sources: black-and-white aerial photographs from the U.S. Department of Agriculture (USDA) Agricultural Stabilization and Conservation Service (1958, 1965, 1971a, 1971b). Mosaics of some USDA photographs were accessed using the Weber County web services (USDA Agricultural Stabilization and Conservation Service, 1937, 1962, 1980, 1985). Additional aerial photography sets from the National Agricultural Imaging Program (NAIP) were used (Utah Geospatial Resource Center [UGRC], mid-1990s, 2006, 2009, 2011, 2016a, 2018a, 2021a) as well as high-resolution (15cm) Hexagon imagery (Utah Geospatial Resource Center, 2021b). Most Quaternary unit contacts, including human disturbed areas, were mapped using two lidar elevation datasets (Utah Geospatial Resource Center [UGRC], 2016b, 2018b). The geologic map was made by transferring the geology from the aerial photographs to a geographic information system (GIS) database using the programs ESRI ArcPro and Global Mapper v. 18 for a target scale of 1:24,000. Cross section A-A′ was created in Adobe Illustrator. Field-based investigations included shallow subsurface investigations in targeted areas with a soil auger. Materials from 1 to 3 meters were observed, documented, and sampled, which aided in preparing descriptions of most Quaternary units.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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The CIE 2016 Colour Appearance Model for Colour Management Systems: CIECAM16. International Commission on Illumination, March 2022. http://dx.doi.org/10.25039/tr.248.2022.

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A colour appearance model provides a viewing-condition-specific method for the transformation of the tristimulus values, X, Y, Z, to or from perceptual attribute correlates. This publication describes a specific colour appearance model, CIECAM16, which may be useful for colour management systems, used in the imaging industries, that involve related colours. The main applications of the model are the evaluation of photographic prints and self-luminous displays, where the colours will be perceived as related colours. This model is based on the CAM16 colour appearance model. It consists of a chromatic adaptation transform and equations to calculate a set of perceptual attribute correlates using the CIE 1931 standard colorimetric observer. This report provides revisions to the CIE colour appearance model for colour management systems that involve related colours, CIECAM02. The CIECAM16 model is simpler than the original CIECAM02 model, but it maintains the same prediction performance for visual data as the original model. The evolution and application of this colour appearance model, CIECAM16, are presented, as is additional information about the use of the model in practical applications. The publication is written in English, with a short summary in French and German. It consists of 38 pages with 6 figures and is readily available from the CIE Webshop or from the National Committees of the CIE.
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